Legacy: Dusk

The entire catalogue of the mighty GATES OF ISHTAR returns in 2017 and invites you to discover or re-discover these timeless 90’s melodic black/death metal masterpieces! Remastered from original sources at Dugout Studios (Meshuggah, In Flames, Arch Enemy), mastered for vinyl by Patrick W. Engel (Dissection, Asphyx, Tiamat), accompanied with detailed liner notes, and visually improved with brand new cover artworks by Juanjo Castellano (Vomitory, Obscure Infinity, Portrait), “A Bloodred Path” (1996), “The Dawn of Flames” (1997) and “At Dusk And Forever” (1998) are now presented to the world in their definite versions.

The entire catalogue of the mighty GATES OF ISHTAR returns in 2017 and invites you to discover or re-discover these timeless 90’s melodic black/death metal masterpieces! Remastered from original sources at Dugout Studios (Meshuggah, In Flames, Arch Enemy), mastered for vinyl by Patrick W. Engel (Dissection, Asphyx, Tiamat), accompanied with detailed liner notes, and visually improved with brand new cover artworks by Juanjo Castellano (Vomitory, Obscure Infinity, Portrait), “A Bloodred Path” (1996), “The Dawn of Flames” (1997) and “At Dusk And Forever” (1998) are now presented to the world in their definite versions.

Hans Christian’s versatility as performer, recording artist, and producer for over 25 years has created a legacy of concerts and recordings that have touched people’s hearts around the world. His unmistakable cello playing moves the listener with a haunting beauty, and his use of live looping and various ethnic string instruments expresses a universal musical language that transcends boundaries, cultures, and generations. “Hans Christian’s music is unique. It marries sumptuous classical elegance with a raw and profound spiritual passion. Anyone who listens to it will ¬nd in it the voice of their longing and ecstatic soul.” ~ Andrew Harvey

“Portico Quartet stake claims to territory occupied by Radiohead, Cinematic Orchestra and Efterklang”. The Guardian *****
Portico Quartet return with Memory Streams, their fifth studio album and one that continues the journey that first started with 2008’s Mercury nominated debut Knee Deep in the North Sea. It’s a creative path that has seen the band embrace new technology and explore ambient and electronic influences alongside minimalism, jazz and beyond. It is a process that has encouraged change.

Perhaps the most appealing aspect of Pete Yorn's 2001 debut, Musicforthemorningafter, was its seamless combination of quirky, Brit-pop-influenced production and rootsy, tuneful songwriting. Day I Forgot, Yorn's sophomore effort, scales back the Smiths-influenced guitar work, scratchy-old-record sound effects, and delicate acoustic balladry in favor of a more straightforward approach. After the unnecessary 47-second opener, "Intro," Day I Forgot buds off to an impressive start with "Come Back Home" and "Crystal Village," a pair of the upbeat yet desperate rockers that will remind Yorn's audience why they started listening to his work.

Andrew Hill was a great and even groundbreaking composer and pianist, yet the relatively circumscribed scale of his innovations might have originally caused him to get lost in the shuffle of the '60s free jazz revolution.